New York Magazine (Vulture)'s Scores

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For 3,961 reviews, this publication has graded:
  • 47% higher than the average critic
  • 2% same as the average critic
  • 51% lower than the average critic
On average, this publication grades 0.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 Hell or High Water
Lowest review score: 0 Daddy's Home 2
Score distribution:
  1. Positive: 2,220 out of 3961
  2. Mixed: 1,378 out of 3961
  3. Negative: 363 out of 3961
3961 movie reviews
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  1. Mustang
    Mustang breathes new life into the old trope by reconnecting it with the elemental horror that drives it. These aren’t just body snatchers; they take your soul, too.
  2. Leave No Trace
    The heart of Leave No Trace is the rapport between the father and daughter, and McKenzie and Foster are keyed to each other’s movements, perhaps even each other’s thoughts.
  3. Lake of Fire
    Lake of Fire centers on abortion, but Kaye understands that while dead fetuses are the hook, the agenda covers the whole life cycle.
  4. Evil Does Not Exist
    In its own discreet, modest way, Evil Does Not Exist leaves us with a haunting sense of personal and ecological apocalypse.
  5. Hunger
    The movie is a political remake of "The Passion of the Christ," only more aestheticized: It's rigorous, evocative, and, in spite of its grisly imagery, elegant. It's a triumph--of masochistic literal-mindedness.
  6. Dune: Part Two
    Villeneuve’s facility with this stuff doesn’t just come from his talent for spectacle, though there are set pieces in Dune: Part Two that aim to blow the top of your skull off.
  7. Experimenter
    Experimenter is busily, thrillingly reflective. Its artificiality makes it seem even more alive, more in the present tense.
  8. The Aviator
    The result is an admirably bumpy ride of a biopic, a rare one that leaves you feeling not safe but bracingly unsettled.
  9. Splitsville
    Splitsville is a comedy that’s grounded in its characters, but also has a downright old-fashioned devotion to the visual, to the ways in which the farcical sight of four guys crammed onto a sofa can be just as capable of generating laughs as a good line.
  10. Priscilla
    The marvel of Priscilla is in its dual awareness, how it’s able to immerse us in the bubble-bath-balmy perspective of a teenager experiencing an astonishing bout of wish fulfillment and, at the same time, always allow us to appreciate how disturbing what’s happening actually is.
  11. Preparation for the Next Life
    The adaptation frames the relationship it depicts less as a romance than as the intersection of two individuals in their own moments of transition. It’s a much better movie for it, though I’d guess that one of the reasons it’s getting such a quiet release is that it’s not a desperate melodrama about people trying to save each other.
  12. A Christmas Tale
    Is A Christmas Tale a masterpiece? Maybe. I have to play with it longer. It's certainly Desplechin's most accessible film, in part because its dysfunctional-family-holiday-reunion genre is so comfy and its palette so warm.
  13. Love After Love
    The performances could hardly be better — with the exception of O’Dowd, who’s good but maybe needed to find just one redeeming moment. (The writers could have helped.) As for Andie McDowell, I haven’t changed my thinking about her amateurish work in almost everything but "Sex, Lies, and Videotape," but I also see that with the right material her inward demeanor can be powerful.
  14. Séraphine
    Séraphine is one of the most evocative films about an artist I've ever seen--and in its treatment of madness one of the least condescending.
  15. Days of Glory
    Indigènes is a stupendous work--and why that new title stinks to heaven.
  16. The Dig
    Death is intercut with passion, as tragedy and glory tangle onscreen. It’s as if the dig itself radiates out a new understanding of existence, revealing both the broad arc of history and the curlicues of love, loyalty, and loss that abound within it.
  17. Cloverfield
    We’ve never sat through anything with Cloverfield’s subjective sting. You’d have to be tougher than I was not to be blown sideways by it.
  18. The Climb
    The scene that kicks off The Climb is by far the best thing in the entire movie, but don’t hold that against the picture — the rest of it is pretty great, too.
  19. Private Fears in Public Places
    It's a Parisian romantic roundelay with sundry couples connecting and disconnecting, but it looks and sounds like no sex comedy ever made: It's transcendentally yummy.
  20. Final Portrait
    Rush is a wonder. It takes bravery to convey closure, tunnel vision, total indifference to the camera that actors always know is there, however self-effacing they might want to be appear. Final Portrait is, like Rush’s performance, a miniature, but there’s a fullness to Tucci’s vision transcending every surface.
  21. Society of the Snow
    What elevates the film above trauma-porn gore and pushes it into transcendence, though, is how its philosophical script and unshakeable performances navigate the question of whether survival is a transgression against God.
  22. I Saw the TV Glow
    I Saw the TV Glow manages to be enveloping without being inviting and to offer a sense of emotional intimacy without requiring that those emotions be comprehensible.
  23. The Other Side of the Wind
    Don't dig too deep into The Other Side of the Wind: It's largely surface. But what a surface. And what a chest of toys for a man who never lost his childlike delight in playing with the medium.
  24. The Zone of Interest
    In its own sly and subtly devastating way, The Zone of Interest pulls us into its circle of evil.
  25. Monster
    By cutting things up and showing us the perils of fractured perspectives, the director, one of cinema’s great humanists, demonstrates that compassion is more than just a natural state of being; it’s a process that requires constant expansion of one’s field of vision.
    • 64 Metascore
    • 90 Critic Score
    He Got Game
    The movie is a volatile combination of ambitious mythmaking and nasty reality, and like most of Spike Lee’s work, it is also an inextricable combination of good and bad.
  27. Sleep
    It’s the sly way that the film starts off lodged in one character’s perspective, and makes its way to the other’s, that enables its rollicking final act to work as well as it does. Sleep is a wild ride, but it refuses to lose sight of the emotional state of the people it puts onscreen, even as they fall apart.
  28. Flux Gourmet
    Its most impressive trick is its underlying warmth, its understanding of the vulnerability and fallibility of its supposedly fearless artists and preening industry experts as well as of the downtrodden writer standing just on the outskirts, trying his best not to let anyone see how much discomfort he’s in.
  29. Spring, Summer, Fall, Winter... and Spring
    Kim exalts nature--life’s passage--without stooping to sentimentality. He sees the tooth and claw, and he sees the transcendence. Whether this is a Buddhist attribute, I cannot say, but the impression this movie leaves is profound: Here is an artist who sees things whole.
  30. Sand Storm
    Ultimately, this is a tale of a mother and daughter trapped in a cycle of yearning and despair. It’s a lovely, deeply affecting film.
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